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Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction (Durham & London: Duke University Press, 1991), p. 1-2. Veronica Hollinger, “Cybernetic Deconstruction: Cyberpunk and Postmodernism”, from Larry McCaffery (ed.) Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction (Durham & London: Duke University Press, 1991) p. 203. Ȝ¶ ˡņ ໑ދࡄ៧ϋௗࣔᡲᓆ ̲ö ΋dz ̷(steampunk)3ϣĭƇ̷ (biopunk)K«ȀƅȒɴÏĽᄶՈ࢕ÇɃ᪸ ᰟ ŞƇ̷«࢕ÇɃ᪸ń͊̓ăNŖՈĭ ͢ȭäƫ ɘ͢«Ϲ࿕äƫǎ ̿͢ᬥाⒸՈȆᩬK«8Ⴎϵ¦'5້ȭ6Ⴎu7Ոǰ̨9 4፼̑Ƈ ̷Ոྐënjnj«ń 19 ൮Ո፼̑rÏ ፼̑rƛՈäƫKǚÏϹ࿕äƫt ɿ]ỎzϹ࿕äƫՈͣƅ̈ͩͣÇՈ ƅ؄ ᬥՈǰȋ͔ɴՈP̿& ̿ᬥाⒸ4Čඣ࢕ÇɃ᪸Ι᜻zʍএႮϢ^¦Ụ3¦ି^ƶ7ⒸՈȭএ ☦ʼʼ۸ᢧrẝȭএÂॅϦ¦ିՈĄᱎɳ4ᰟŞƇ̷ʐ፼̑Ƈ̷਍ Ʈtr]ܲǎՈₓȭɨ4džǩ᪡ǡ᪸ɥ« ᰟŞƇ̷਍«8ȭ¦ିʐƶ ẟᜐrȒɴÏśՈℸǎ9 4๒ę࢕ÇňǪOе++Ľȓ(Bruce Sterling) ň&ᰟŞƇ̷Ẕ¬ՈŶ Ƅ ܲŌūϦᰟŞƇ̷ՈǍɁ«8äƫȋ: rϘ¦ି7Ȓ Ʀǡ]«Ð¦○̠Ոˡɬ ໐«ඝ¦XƗՈɶĭ9 4 Ⴎ 19 ൮Ƨ࢕ÇɃ᪸º8൳ƚɃ᪸9࿵ࡿ7Ȓ ࢕ÇɃ᪸Ոƚ ₕÀÏ9Ո 20 ൮ 30ٸŌĹƫpָǛ4ᯬѕ ŷūńᝯ᥍&8࢕ÇɃ᪸ ÀÏ K¹ᝯ'ϕƚᢊ&੄řƚzƵƚ Âᝯ࢕ƚАʐƚАՈc ǪǶ!ń̲420 ൮ 50 ÀÏƧ ╓؄̓ăĚۘऺ3᪡᪱ˊ᩾ʐᢧȀՈ ȭǑ࢕ף᰻ ๒ę࢕ÇɃ᪸Ōϧš᰻'ϕÝ᪈АՈͼ͛ ƚƫАŌϧᩨ͠ ÇɃ᪸ ÂȺ͢൷͑๒ęɴÏ᪱ᣄœĆ(MLA)ÀĆՈᩬ᩾᪡L420 ൮ 80 ÀÏƛϵȍêͪǤ᰻Ո8ᰟŞƇ̷9ՈȒɴÏ࢕ÇƆȚʐ╓78ɴϦ ՈȒɴÏ࢕ÇɃ᪸Ǫǎ͢ň˅ ń๒ę3ƻφÑǎА͢ÂŌľ῁ƅ؄Ë ͯՈ້ᪿ š᰻r'ϕƚÝ᪈АȭƟÏ࢕ÇɃ᪸Ոₑᢊ4wǒZ ȭz ᰟŞƇ̷ẝP࢕ÇɃ᪸Ƅି ᪈᩾Ǫȭ͢៖ᯰ]P4๒ęƚ້ö+ĽWᡃ +̢̣▻ ͱ(Istvan Csicsery-Ronay)ᩨ& 8ᰟŞƇ̷«ȭணஙǍÜՈࠢĚ Γ ؄ₑzẕÏƦǡණ DNA ₑඈȒϣĭ ϣĭƇ̷࢕ÇɃ᪸ʒzᰟŞƇ̷Ƀ᪸Ո äƫ☭ʁ¤rǡՈ͛̿]4Ո඗Ș4 Toril Moi, Sextual/Textual Politics: Feminist Literary Theory (New York, NY: Methuen, 1985), p. 10. Veronica Hollinger 8Cybernetic Deconstruction: Cyberpunk and Postmodernism”, from Larry McCaffery (ed.) Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction (Durham & London: Duke University Press, 1991), p. 205. Bruce Sterling, “Letter from Bruce Sterling” REM 7 (April): 4. Ȝ¶ ᣈ ฬ ˡņ ̲ö ΋dz ȭȒɴÏՈࠢĚ9 4໐ǪPĹ๒ęƚ້ǼȈĽOŪĽŸ(Scott Bukatman) ᩨ& ᰟŞƇ̷Ո8ࠢඓǗä'59(neuromanticism)ʼƟŌĿɴr࢕ÇɃ ᪸ńȒɴÏrƛՈňϬ8ńäƫ])ϣtՈ,ՈА ¦ିŌϧₑ,ᙑ Ȍ4ẝ,А9 4ńȒɴÏ᪱ʟ[ ČඣՈ࢕ÇɃ᪸ȭ࢕ƚäƫ͍ȋ Ոĩȳ>]͹«ȒɴÏ࢕ÇɃ᪸͟ͼՈϒͥ Ʒؤ͟ͼՈ «ΞŁūǣ ʐäƫּ~ňϬ ǒɴ͝ȐՈϣƌ^Ǖʉ4ႸzᰟŞƇ̷ʐ፼̑Ƈି¦ ̷਍ňՈ࢕ÇɃ᪸Ǫ┨r5ĕȍŠͪʐOе++ĽȓÑ̲ aĽť ፆʵ(Pat Cadigan)3൪ິ᫦-(John Shirley)3еẮе̷(Rudy Rucker)3 ljปẮ኶-ê(Paul Di Filippo)ʐɰɈǶፆᅰͪ(Neal Stephenson)਍P ̓๨࢕ÇɃ᪸ǪKºȈᢖòႸzẝ࢑ͣƅȒɴÏɳՈ࢕ÇɃ᪸Ոň4 ńă̶Ոƅ͟ȒɴÏ࢕ÇɃ᪸Ո᪈Ẵʐ᩾ጛ ๒ęȒɴÏÝ᪈Ǫĭ ˛ₐ̷ٚţ▻¤ේጛՈ9ɴǒ1ňǘİᰟŞƇ̷ʐȒɴÏɃ᪸ᰈ ේ:(Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction, 1991)ʐȃęƚ້ዬDz◑öΑ(Sabine Heuser)¤ጛՈ9ᔞ ŃŌˊƚᰴńȒɴÏʐ࢕ÇɃ᪸7ⒸՈᰟŞƇ̷:(Virtual Geographies: Cyberpunk at the Intersection of the Postmodern and Science Fiction, 2003)« ᾬₑᡅՈȆᩬᰟŞƇ̷Ƀ᪸^ȒɴÏɩ̿ÑǎȒɴÏϒǝẴä37Ⓒ͟ ிՈේ/᩾ጛ ±ìŌᜬrᰟŞƇ̷^ȒɴÏ'5ՈͭȌͥ4Q້«࢕Ç Ƀ᪸ȒɴÏĚƊǶՈₑᡅDz ºି࢕ÇՈȒɴÏ'ϕň˅ʐȒɴÏ࢕Ç Ƀ᪸ᢖò̯ˊrx້ńˊ᩾ʐǒᲹZՈň˅ň4Ȓ້ń ȌᰟŞ Z ؄ₑȭȍŠͪ3ťፆʵʐǶፆᅰͪՈň˅ẟ܄Ƈ̷ǕʉƊǶྐëՈȖ ᜐ Ȍ ÂʉɴϦȒɴÏ'5ʐ࢕ÇɃ᪸7ⒸŇ WෙՈ༘ி4๒ęƚ້ ǼȈĽOťĽŸ(Scott Bukatman)Ո9ඌ঳ᵯéȒɴÏ࢕ÇɃ᪸Ոᔞ Ń'L:(Terminal Identity: The Virtual Subject in Postmodern Science Fiction, 1993)ȭ 20 ൮ 80 ÀÏ4 90 ÀÏƛⒸϦČՈƟÏ࢕ÇɃ᪸ẟᜐrËͯ໐ Istvan Csicsery-Ronay, Jr. “Cyberpunk and Neuromanticism”, from Larry McCaffery ed., Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction (Durham & London: Duke University Press, 1991), p. 193. Scott Bukatman, “The Cybernetic State: Terminal Space Becomes Phenomenal”. Journal of the Fantastic in the Arts 2 (Summer): 45. Ȝ¶ ˡņ ໑ދࡄ៧ϋௗࣔᡲᓆ ̲ö ΋dz ẢනՈۘऺ ʉɴrČඣ࢕ÇɃ᪸'LՈඌ඗ʐϹ࿕ඌ঳zϹᢊራʃȀņ ϦǡՈ'Ŀᵯé ͼǎrȒɴÏ࢕ÇɃ᪸ՈₑᡅƚŌĹ ẜȺۘऺᇇĐ ºȒɴÏ࢕ÇɃ᪸ƨÍʉ4rƽᢊʐäs਍ᢊᢍÆĿ ʉɴr͢ඞͮ ̶ƵՈ࢕Ç̿ᬥʐ້ᪿƽˑ4ɟ̓-ƚ້ẂଷʵO ป ȃ̷̢(Damien Broderick)Ո9̵[ՈⓉᪿȒɴÏ࢕ÇɃ᪸:(Reading by Starlight: Postmodern Science Fiction, 1995)Ȗz࢕ÇɃ᪸ͣƅՈȒɴÏɳႮuū53 Ȍẟ ňϬՈ᪱ᣄʐæŐɳՈ᪡᪱ ȭᰟŞƇ̷Ƀ᪸ʐˊ᩾ǪՈۅȀƅǺ ᜐrʇĿɳՈ̯ˊ4┨Ǹ7̲ ȭzȍŠͪ3ťፆʵ3኶-êʐǶፆᅰͪ ਍ȒɴÏ࢕ÇɃ᪸ňǪ๨zřňǪՈ᪈ẴKʕᢅ]ѐ ๒ęΏɳ'5ƚ ້3࢕ÇɃ᪸ǪaଷĭዬₕĽ(Pamela Sargent)¤ጛՈ9ͣẽΏ¦20 ൮ 70 ÀÏ4 90 ÀÏΏňǪ৘[Ո࢕ÇɃ᪸:(Women of Wonder, the Contemporary Years: Science Fiction by Women from the 1970s to the 1990s) ȭΏňǪ¤΅Ո࢕Çň˅ẟᜐrϘĿ·එʐ Ȍ4ᆵęႮϵƚ້%ɰť Ϊĭป(Dani Cavallaro)Ո9ᰟŞƇ̷^ᰟŞĚ࢕ÇɃ᪸ʐ5ĕȍŠ ͪɃ᪸:(Cyberpunk and Cyberculture: Science Fiction and the Work of William Gibson, 2000)«ȭᰟŞƇ̷ₑᡅ¦ĭȍŠͪՈ᪪ඊȆᩬ ÂȺÂՈ ň˅าz࢕ÇɃ᪸ẝƚ࢑ିʐȒɴÏ'5Ո̓ྐë[ Ɔ᫇͢äƫ ĚՈ˹4Ǹ̲ Xဎƚ້ɰƈƽϊ̢aͥ᏿(Tatiani Rapatzikou)¤ጛՈ 95ĕȍŠͪɃ᪸Ո˩Ľ¬ƶ:(Gothic Motifs in the Fiction of William Gibson)KºȍŠͪɃ᪸Ոᢊᢍ̯௤ϦǕ ūϦȍŠͪȭ˩ĽɃ᪸ʐගƨ Ƀ᪸ČඣՈණã ǎ͢ȭ,ᢊᢍाⒸՈɭỤ ÂȭȍŠͪ਍&ÏᜬՈᰟŞ Ƈ̷ňǪǎň˅ẟᜐr᪪ඊՈZȌʐ᪈Ẵ4ẝ᩾ጛᕁϢȆᩬՈᢖòȈƅ Ɠₑ IJ῁\pŷ̲ՈⓔẴrᰟŞƇ̷śň˅ȭČඣ࢕ÇɃ᪸̯௤Ոණã ʐȭȒɴÏ'5ʸՈȌ̻4 wǒZ ๒ęȒɴÏ࢕ÇɃ᪸ň˅ńęKƅǔ̶້ᪿ๨ IJּɨ7 ęͱƚАȭzᰟŞƇ̷ʐ፼̑Ƈ̷ՈۘऺẜǮ«̠ń੄řՈ·එʐȭ ] řňǪzň˅Ո᪈·Z ̵ƅ࿁̻Ⱥ๒ęȒɴÏ࢕ÇɃ᪸ẟᜐிඣՈ̯ ˊʐ᪈Ẵ4৘້ᩨ& ͟ͼ๒ęȒɴÏ࢕ÇɃ᪸ ƅ­zuØŰ¤ˊᢧƟ Ïᡃ5ńʌ࢕äỤ\└dz࿁ՈȐr Kɩ໇ňǪʉɴՈƟÏࠂƦିϣ Ȝ¶ ᣈ ฬ ˡņ ̲ö ΋dz ƌՈɴźʐƦǡ ^dzÑȀuØȭᡃ5࢕ÇɃ᪸Ոᩨ᪊ KdzÑẟPǹ rᢧ࢕ÇɃ᪸ ɘ͢«ƟÏ࢕ÇɃ᪸^ȒɴÏ'57ⒸՈǺ ༘ி4 ƨR༞ϒ5ĕȍŠͪ3aĽťፆʵ3ljปẮ኶-êʐɰɈǶ ፆᅰͪǎÂØՈ'ᡅň˅ ȆᩬÂØňՈȒɴÏ࢕ÇɃ᪸ΞŁńˊɁʐ ň¯ͩZʉɴϦȒɴÏɳ ȐrnjljНr࢕ÇɃ᪸ƨᵯՈᱧɷɳʐdzᪿ ɳ º໐rᢧȒɴÏ࢕ÇɃ᪸ńƟÏƚǕʉǶZՈₑᡅŌĹ4ƨR₋Ϭ Ȍ඗ȌńP᰻ Ɔ᫇Ȓ Ȍ3Ěۘऺʐƨ ṭ᪅ՈÝ᪈5ͩ ȺƊǶ ɴÏ࢕ÇɃ᪸ՈȒɴÏɳՈȐr K͟ͼ͢ň&࢕ÇɃ᪸ՈdzⓉᪿɳʐ ̓ăȉǛò4ƨRń̓Ⴘ̯ˊᡃ5࢕ÇɃ᪸ǶՈȖ܄Z Ñţȃₐ̷᤽ ϢỎ(Fredric Jameson)ĚᢊₒՈ8¼Ὢˊ᩾ǎ͢ȭƟÏ࢕ÇɃ᪸3Ľ/ «ȭᰟŞƇ̷ẝP࢕ÇƄିՈ᪈Ẵ&ˊ᩾Ɖǒ ZȌȒɴÏ࢕ÇɃ᪸Ǖʉ ՈƊǶྐëʐƚŌĹ4ƨRÑȍŠͪ਍÷ňǪǎ͢ň˅ň&'ᡅՈۘ ऺȭᬥ «ü&ÂØz&8ᰟŞƇ̷9Ẕ¬š:ɳՈÏᜬ z&Ώɳᢊᢖ Ո8ᰟŞƇ̷9µƨ z&8፼̑Ƈ̷9ՈͤƧ z&8ᰟŞƇ̷9Ẕ¬ ȒƛՈǬň ẝ÷ĹňǪǎ͢ň˅dzÑ&uØȴƇpṇ&DZËՈƚᢊ ₒ ʉɴȒɴÏ࢕ÇɃ᪸Ո͠᰻3Ǖʉʐණã4 ƨRϵSতᅆʐɃ඗ඈt4 ৰpত8๒ęȒɴÏ࢕ÇɃ᪸ՈАǎ9̓Ⴘ̯ˊr࢕ÇɃ᪸Ո᰻ļÑ ǎᡃ5࢕ÇɃ᪸ՈǕʉǶ4๒ęȒɴÏ࢕ÇɃ᪸^Čඣ࢕ÇɃּ᪸ɨ ń L3ä3ʐňǪྐëZ῁ƅ؄ɨṇ̓Ո:Ŏ4Čඣ࢕ÇɃ᪸Ǫ̶̓«Ǜ' ẋ࢕äνྲྀՈ8࢕ä8¼Ὢ'5້9 ÂØ͟ͼ̲Аʐ࢕äǕʉ ń΅ ňʸZKṇ&ljƼ໐ȒɴÏ࢕ÇɃ᪸ǪƅŰ̶ՈƚȪȕ͛᪊  Ø͟ͼࠂĆ࢕ƚȈ5☦ ΞࠂĆƚ3ȏˊƚ਍ ϞႷ5ǎΣ͏ʐ͢ÂƟ ÏࠂĆ͟ͼՈ:ǻ ̿ᬥ¦ିᜐ&Ո,̑Ρʐ,˂Ȳ ńǝẴä3ZKŰ ྊ ₋ϬɴÏ'5ʐȒɴÏ'5Ո΅ňä3 ᩭ້ᪿ໷ֲP,4̓& ৰxত8᤽ϢỎĚÝ᪈ᢊₒՈ8¼Ὢ^࢕ÇɃ᪸9Ȇᩬr᤽ϢỎ ȭz8¼Ὢɩ̿ʐ࢕ÇɃ᪸8¼Ὢ̯௤Ո᪈Ẵ4๒ę 20 ൮ 60 ÀÏ« Ȉ࢑ɩȚ}ằ᰻Ոrƛ ȒɴÏ'5ɩȚඝČඣՈɃ᪸rǡrǽ̓ՈΞ ϧ4ǷΞ᤽ϢỎ¤᪸ ࢕ÇɃ᪸ʐȒɴÏ'5῁Ȑʳƅ؄͟ͼƨĿɳǜĚ Ȝ¶ ˡņ ໑ދࡄ៧ϋௗࣔᡲᓆ ̲ö ΋dz ՈĽͥ4Ōϧz 20 ൮ 80 ÀÏƛՈȒɴÏ࢕ÇɃ᪸ᕁϢºƣ̴Ո͟ͼ ࢕ƚ3äƫ3Æ·਍࿵ࡿϦǡ Ű̶Ō͟ͼࠂĆʐΣ͏ᢊₒ
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